These later works outraged the Nazis. Riots broke out at several performances and carefully orchestrated propaganda campaigns discouraged productions of his works. In March 1933, Weill fled Germany; he and Lotte Lenya divorced soon thereafter. In Paris, Weill completed his Second Symphony and renewed briefly his collaboration with Brecht for Die sieben Todsünden, a "ballet with singing" for George Balanchine's troupe "Les Ballets 1933." He also wrote a number of cabaret chansons, as well as the score for Jacques Deval's Marie galante. When a German-language premiere of his Der Kuhhandel seemed hopeless, Weill arranged for a London production of this operetta, which had been adapted as a British musical comedy and re-titled A Kingdom for a Cow. In September 1935, Weill went to America, with Lenya, to oversee Max Reinhardt's production of Franz Werfel's biblical epic Der Weg der Verheissung, for which Weill had written an extensive oratorio-like score. After many delays, the work was finally staged in 1937 but in truncated form as The Eternal Road.
Broadway and Hollywood
In the interim, the Group Theatre had recruited Weill to collaborate with distinguished playwright Paul Green on a musical play loosely based on Hasek's Good Soldier Schweik. Weill's innovative and extensive score for Johnny Johnson, though still recognizably European in accent, established the composer on the American scene. For a brief period in 1937, Weill had two works running simultaneously in New York. Encouraged by his reception and convinced that the commercial theater offered more possibilities than the traditional opera house, Weill and Lenya decided to stay in the United States, remarried, and applied for American citizenship. Weill followed the Group Theatre to Hollywood and completed two film scores, including Fritz Lang's You and Me (1938). But he found the motion picture industry hostile to the type of film-opera he envisioned and thereafter always considered Broadway "home."
During the next decade, he established himself as a new and original voice in the American musical theater. He continued to enlist leading dramatists for the cause of musical theater, including the foremost playwright of the day, Maxwell Anderson. Their first collaboration, Knickerbocker Holiday, was only a modest success, but it showcased Weill's first American standard, "September Song." Weill's first hit was Lady in the Dark, a musical play about psychoanalysis by Moss Hart with lyrics by Ira Gershwin, his return to the theater after his brother's death in 1937. A daring experiment, with music restricted to only the dream sequences (a technique analogous to the use of color in The Wizard of Oz), Lady in the Dark broke Broadway records for production costs but recouped all of it in its 777 performances, with Gertrude Lawrence appearing as Liza both on Broadway and national tour. Weill quickly acquired the reputation of being the finest craftsman in the business, no less for his large-scale musical forms than his unique insistence on orchestrating all of his own works.
The even greater success of One Touch of Venus (1943) gave Weill the credibility to embark on a series of bold ventures. He was elected as the only composer-member of the distinguished Playwrights Producing Company, which brought Elmer Rice's Pulitzer-Prize winning drama Street Scene to Broadway as an American opera, the first real successor to Porgy and Bess. With lyrics by the Harlem Renaissance poet Langston Hughes, Street Scene garnered more favorable reviews than had Porgy and enjoyed a longer Broadway run. Next teaming up with Alan Jay Lerner for an original musical entitled Love Life (1948), Weill used American musical idioms and a vaudeville frame to chronicle in non-linear form the impact of 150 years of "progress" on the marriage and family of Sam and Susan Cooper, who never age. Now considered the first "concept musical," its first genuine successor was Cabaret (1965), and even Stephen Sondheim found Love Life "very useful" for his own work. Weill's last Broadway piece was no less daring: the musical tragedy Lost in the Stars, adapted by Anderson from the novel Cry, the Beloved Country. Starring Todd Duncan, it challenged the Broadway institution and audience to a degree that would not be exceeded until the 1970’s in the Sondheim-Prince collaborations.
During the forties, Weill had also contributed extensively to the American war effort, as well as a series of Jewish and Zionist pageants. Although all of the Hollywood adaptations of his musicals mutilated his scores, he enjoyed his work with Ira Gershwin on the original film musical Where Do We Go from Here? (1945). He was also very proud of his folk-opera Down in the Valley (1948), which received hundreds of productions in schools and communities throughout the nation. Weill was at work on a musical version of Mark Twain's Huck Finn and was planning another American opera when he suffered a heart attack shortly after his fiftieth birthday. He died on April 3,1950.
